Dry your eyes, pop culture fanatics, you made it through the 10 saddest moments in movies from the past year. Sadly, (and we really want to emphasize that) we're going to remind you of the 10 moments on television that made you totally lose it. On the bright side, at least you can cry over your favorite TV shows from the comfort of your own home! From shocking character deaths to heartbreaking discoveries, TV really turned up the waterworks quotient this year. But, don't be cry for too long. To spare you (and your non-waterproof mascara) we threw in a few happy tears moments, too. Brace yourselves, there are MAJOR SPOILERS and MAJOR SADNESS ahead in the top 10 tearjerker TV moments from 2012.
The Walking Dead:
We spent Season 2 being bored to tears by The Walking Dead, so imagine our surprise when we spent Season 3 crying actual tears. For Lori. Let that one sink it. We're still trying to do the same with Lori's (Sarah Wayne Callies) stunningly sad death, in which her own son Carl (Chandler Riggs) had to put her out of misery after a C-section.
Mad Men:
It became more and more apparent as Season 5 went on that things weren't going to end well for poor Lane Pryce (Jared Harris), but no one ever imagined it would be so damn depressing. After Don (Jon Hamm) found out about Lane's embezzlement scheme, he asked him to resign, but Lane left Sterling Cooper Draper Pryce in a much more harrowing fashion: he hung himself in his office. It's an image no Mad Men fan will ever be able to shake.
Parenthood:
NBC's underrated gem of a drama is always a reliable go-to show when you need a good cry. But this season, it's been a reliable go-to when you need a full-on ugly cry. When Kristina (a seriously Emmy-worthy Monica Potter) discovered she has breast cancer, she had to break the terrible news to her family, starting with her husband Adam (Peter Krause), who could tell with just one look that it was everything they hoped it wasn't. Still, even at her worst, Kristina has continually put the brave in Braverman this season.
Grey's Anatomy:
When Mark Sloane (Eric Dane) died on Grey's Anatomy, it was heartbreaking. He had just professed his love for Lexie (Chyler Leigh), only to watch her die. After she died, he clung to life long enough to make it back to Seattle Grace Mercy West to say goodbye to his daughter and all of his friends. Then, he joined his soul mate in death. — Sydney Bucksbaum
Glee:
Kurt (Chris Colfer) finally worked up the nerve to start forgiving Blaine (Darren Criss) for cheating on him. He called Blaine; you could see the relief in the latter's face when Kurt offered Blaine the chance for a mature conversation over Christmas break. And then, to cap it all off, they exchanged tearful "I love yous," proving there might still be hope left for these two soul mates. — Sydney Bucksbaum
The Vampire Diaries:
Alaric Saltzman (Matthew Davis) was forced to transition into a vampire-vampire-hunter, he made the choice to not complete the process so his friends would be safe, knowing he would die. He shared one last bottle of whiskey with his friend Damon, and passed peacefully... that is, until a possessed Bonnie (Kat Graham) swooped in at the last minute to complete the process for him. After he died permanently, he showed up as a ghost to say his final goodbye to Jeremy, telling him he has to be the man of the house. Alaric made one more surprise cameo at the beginning of this season, invisible to everyone including Damon (Ian Somerhalder). He sat next to Damon, listening to him rant about being left alone, and summed everything up in one simple sentence: "I miss you too, buddy." — Sydney Bucksbaum
Sons of Anarchy:
The death of Jax Teller’s best friend Opie (Ryan Hurst) was one of the most brutal, heartbreaking deaths in the series history, and probably TV history. Not only did Opie sacrifice himself for the club, submitting to a prison brawl orchestrated by the warden in which multiple inmates are allowed to beat him to death, but we saw every second of it. Left to defend himself with only a lead pipe, Opie is quickly brought to his knees, killed by the final screen-center blow to the back of the head while Jax watches from the next room. No amount of tears could wash that image from an SoA fan’s mind. — Kelsea Stahler
Community:
The legendary (and long awaited) “Virtual Systems Analysis” episode of Community sent viewers full-force into the brain of Abed Nadir (Danny Pudi), which is at once hilarious, horrifying, and heartbreaking. When the conclusion of the episode landed Abed into a manifestation of his biggest fears — recalling memories of his time being ostracized, bullied, and shoved into lockers during his middle school days — the oft masked inner pain of the character was revealed vividly. Abed’s psychological journey reminded us that no matter how old we grow or how far we go, the children within us — and all the sadness we earned in childhood — will follow us diligently throughout, just aching to take over whenever something frightening or hurtful happens.” — Michael Arbeiter
Louie:
The stellar Season 3 of Louie could make us laugh until we cried (i.e. the doll scene in the finale), but sometimes the groundbreaking show just plain broke our hearts. When Louie (Louis C.K.) went on his date with Liz/Tape Recorder (the brilliant Parker Posey) in "Daddy's Girlfriend, Pt. 2", it became apparent she is someone who is suffering. When they finally make it to the roof, she tells a worried Louie "The only way I'd fall is if I jumped. That's why you're afraid to come over here. Because a part of you wants to jump, because it'd be so easy. But I don't want to jump. I'd never do that. I'm having too good of a time." But its obvious, from the sadness and desperation in her eyes, she's thought about it. She's always thinking about it. The scene is even sadder when you know what eventually happens to her character at the end of the season.
Parks and Recreation:
See! Like we promised, it's not all super sad stuff. Who didn't cry the happiest of happy tears when Sexy Elf King Ben Wyatt (Adam Scott) proposed to the world's greatest human ever Leslie Knope (Amy Poehler)? She didn't want to forget a single moment of the romantic surprise, and neither did we.
[Photo credits: AMC (2), NBC, ABC, Fox, The CW, FX, NBC, FX, NBC]
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To say tonight's episode of The Walking Dead changes EVERYTHING for the Grimes Gang doesn't even begin to cover it. After a chilling but relatively low-key visit to Woodbury last week, TWD was back to its Season 3 breakneck pace tonight, only this time, several lives were devastatingly, irreversibly damaged forever. Please do not read any further if you have not yet seen "Killer Within" as MAJOR SPOILERS ABOUND.
I always felt like the attack on Hershel's farm let the Gang (and fans) off pretty easy, only offing a couple of Hershel's kids and dumping Andrea with Michonne. "Killer Within" — which has two very different but completely applicable meanings — left the gang in far worse shape than last year's finale, and not just because they now have a baby AND an old guy in crutches to take care of. No, T-Dogg and Lori are now gone, along with (one would guess) whatever semblance of hope Rick had left, and, well, any bit of childhood Carl may have had left. Having to shoot your mom will do that to a kid. This will probably be the first recap where I won't make fun of Carl, at all. I just can't tonight. He earned it.
So the first "killer within" ended up being the mysterious figure who had been watching Carol from afar. (I was wrong — it wasn't Merle. But Merle's on his way!) The cold open found this mysterious figure, whose face we never saw, cutting the Grimes Gang chains with an ax, then luring in nearby Walkers with hearts and dead animals and other cute things of that nature. It ended up being Andrew, the "other" bad prisoner who Rick left for dead in a Walker-filled yard. Now, I get why he might be pissed, but letting hundreds of Walkers take over a prison, thinking he could then defeat them after they turned the Grimes Gang into more Walkers, was a very stupid idea. Also, it didn't even work to his advantage.
But more on that later, because his Walker-raid was 80 percent of the episode. The other killer within, and the one that wreaked the most emotional havoc (sorry, T-Dogg) was Lori's baby. Since Carol was off fighting her way through the Walkers, along with everyone else except for Carl and Maggie, Maggie had to brutally slice open Lori's belly — with absolutely no medical experience, not to mention surgical equipment — and yank it out. Think Prometheus, but with higher emotional stakes and more children present. Lori knew that trying a vaginal birth (she wasn't even fully dilated — sorry for this part, dudes) would probably kill her baby, while the C-Section would mean her own life. She chose the latter, going out as a hero of sorts, but also putting Maggie and Carl in the worst position, ever. Maggie had to kill her, and someone would have to put a bullet in her brain when she rose again. (Has she seen the show Dexter? Doesn't she know what seeing their mother in a pool of blood does to a child?)
Lori saying goodbye to one child while sacrificing herself for another was tragically beautiful, and Sarah Wayne Callies, Chandler Riggs, and Lauren Cohan acted the crap out of this scene. Everyone realized what was happening and tried to appear brave to everyone else's benefit, but still — watching a mother say goodbye to her son in this horrible, horrible manner was gut-wrenching. She told him that he was good, and asked him to always be good — to do the right thing, avoid the easy way out, and not let this world spoil him. She hugged him, in tears, as the friend who would soon be her killer sat two feet away, sobbing, with a knife. Her final words were "Goodnight, love." Try to forget this scene, ever. After she passed, Carl told Maggie that he'd be the one to put her down. "She's my mom," he insisted. I'd like to thank Glen Mazzara for not making us see that extremely disturbing event, as hearing the gunshot offscreen was bad enough.
Rick's reaction to Lori's death was possibly even more gut-wrenching that the scene that preceded it. The Grimes Gang fighters (and Beth and Hershel) had just re-convened in the yard, after finding T-Dogg's mangled corpse and Carol's scarf, leading to the popular belief that she had died (more on that later). Carl came out, along with Maggie and the bloody (but alive!) baby, and they didn't even have to say anything. Everyone knew. Rick was in disbelief, asking, "Where is she?" — but when he saw Carl, dead-eyed and staring at the ground, he knew exactly how things went down. I never thought I'd throw in Walking Dead for any acting nominations, but I'd put this in Andrew Lincoln's Emmy reel. Jesus. The outpouring of grief was — I know I keep using this word, but gut-wrenching. He fell to the ground in an ugly cry that would even impress Aaron Paul, while Glenn comforted the traumatized Maggie, and Carl stood motion and emotion-less.
NEXT: The other, terrible stuff that happened.
So, back to killer number one, Andrew: Before the prisonpocalypse began, the Grimes Gang ran into the nice prisoners, Alex and Oscar, in the yard. They were fed up with living with their dead friends' corpses, and things like that. They swore again that they were petty criminals — not murderers — and would do anything to help the Grimes Gang. But Rick 2.0 doesn't have time for new friends, and probably still has a cop's natural distrust of felons. So despite T-Dogg's pleas for empathy (T-Dogg said more than one line, and expressed an opinion — should have known he was a goner), Rick kept them locked up, and he and the Gang's fighters left the yard to run a soil-related errand.
Inside, Hershel decided to take his first post-amputation walk in the yard, and brought Beth, Lori, and Carl with him. AKA, all of the essentially helpless ones. The rest of the gang, who were now in various parts of the yard gathering wood to burn Walkers, watched from a distance. Hershel was happy, they were happy — it was a heartwarming moment. Until seconds later, when hoards of Walkers were spotted outside the gates. "Can't we have one good day?" Glenn asked. No, Glenn. You can not.
Then, things got really quiet. The mood during the final, pre-prisonpocalypse moments was eerily spectacular, as we knew that one group was about to get brutally attacked. But, which one? Before we found out, we saw Lori and Rick exchange loving, heartwarming looks from across the yard. She even smiled! From Lori's perspective, Hershel was okay, the Walkers would be burned in favor of healthy soil, her kid was safe, and Rick was truly looking at her for the first time in months. Things were okay, considering. How sweet. So, of course, Walkers attacked. Like, dozens upon dozens of them. Beth got Hershel to safety through one door, while Maggie ran up and saved Lori and Carl, locking the three of them in the free cell that would eventually become Lori's birthing room. T-Dogg and Carol fought to close off one area of the yard, and T-Dogg was promptly bitten. Dammit. On the other end, Rick, Daryl, and Glenn teamed up with Alex and Oscar to fight for a different part of the prison. So everyone was separated (I'd take my chances with Group D), and one prominent member of the Gang was already mortally f***ed. This was like, 18 minutes in.
But things quickly got much, much worse, as someone inside (Andrew) turned on the prison alarm system, attracting even more Walkers. Rick was quick to blame Alex and Oscar, but they were his only hope for turning it off, so. He ran around the prison shouting for Lori and Carl (heart, breaking) until they finally found the generator, as well an ax-toting Andrew. Rick and Andrew fought while Daryl held the door, and eventually inmate Oscar ended up with a gun in his hands, aimed at both of them. Despite Andrew's pleas, Oscar made the wise decision to keep Rick around.
Meanwhile, over in Carol and T-Dogg's hellhole, the duo continued to push through groups of Walkers, even though Carol was quick to remind T-Dogg of "the pact" that would basically mean her shooting him so he wouldn't turn. But he wanted to push through as long as he could and keep fighting, which he did until he heroically gave his entire body to a group of Walkers to let Carol escape. Her fate is still unknown ($50 on her still being alive), but T-Dogg definitely experienced the most gruesome death of any lead character on this show. We hardly knew ye.
Meanwhile, in Woodbury... It's hard to focus too much on Michonne's growing distrust of the Governor (stemming from the fact that she knows he killed those innocent men) and Andrea's disturbing flirtations with him when Lori and T-Dogg just bit the dust, but we must. Watching the ice cold Michonne passive-agressively grilling the Governor, basically telling him that she knows he's a big fat lying liar was a treat, even if it means she's now on his radar. That's not a place I'd want to be. But he got Andrea to trust him even more, luring her with booze, sad personal stories, and that sweet southern accent. He even told her his name! (Philip.) Prediction: This will not lead to good things.
Michonne wanted to make for the coast, find a boat, and live forever on some theoretical magical island with her pal Andrea. I know just the place! But that wasn't going to happen, because Andrea spent the rest of the episode bonding with someone even more confusing: Merle. Merle and Andrea had a ditching by the Grimes Gang in common, and both were tempted by the idea of finding out what the Hell had happened to them. Merle clearly loves Daryl just as much as everyone else does (back off), so he eventually got through to the Governor when he begged him for a rescue mission. "You get more concrete information, and I'll go with you myself," Gov said. To be continued.
Well, that was a lot. Rick and Carl will certainly never be the same, and there's a good chance that Rick's abilities as a leader have been compromised. Also, how are they going to find baby formula? To bring us back to happier days, let's all laugh about the time Rick, Daryl, Carol, and T-Dogg caught Glen and Maggie having sex in the guard tower. Haha, that was hilarious!
Shout out your thoughts in the comments, when you're done crying. (You better be crying. Have you no soul?)
Follow Shaunna on Twitter @HWShaunna
[PHOTO CREDIT: AMC]
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The image that surfaced yesterday was shocking. A celebrity walking across a Kmart parking lot in L.A. snapped by the paparazzi. She was wearing trendy layered T-shirts, tight jeans, and platforms higher than Lindsay Lohan at a glue-sniffing convention. Her hair was done, her lips were glossed, her sunglasses were on. All the tabloids were talking about her outfit and just how skinny she looks. Look at how much weight she's lost! Maybe there's an endorsement deal in her future? But this wasn't a pop star with a ridiculous YouTube video or a starlet with a new show coming out on the CW any minute now. This was Sarah Palin, a woman who just four years ago ran to be Vice President of the United States of America.
Sarah Palin is now nothing but a celebrity. With this picture, Sarah Palin transformed from a political figure to a popular one, and the move she made next only solidified that. Her next book wasn't going to be a follow up to Going Rogue, her political memoir about becoming the Governor of Alaska and running for the second biggest office in the country. No, she is writing a fitness and diet book. This is not what a politician does. She should be writing a policy tome or crusading for the causes she believes in. She should be stumping and fundraising and wearing conservative pant suits and Old Glory pins. Sarah Palin, meanwhile, goes to Dancing with the Stars to support her daughter, a celebrity in her own right. It appears as though the Palins are now closer to Kris Jenner and Kim Kardashian than Hillary and Chelsea Clinton. Palin even had a reality show of her own. She appears on Fox News to comment on political issues, but she doesn't do it as an elected official anymore. Her visits to cable news are the same as when Ben Affleck shows up on Real Time with Bill Maher to push his liberal agenda.
At this point, George Clooney and Sean Penn, who have been aggressively lobbying for relief in Darfur and Haiti respectively, have more of a political agenda than Palin. She didn't move to DC to be closer to the seat of power, she moved to L.A., the other two-lettered town that is full of power — but the power of the entertainment industry and the celebrity industrial complex. She isn't running for office and she wasn't invited to the Republican National Convention this year. She didn't even attend.
This is odd because she came into our lives purely as a political figure. It wasn't like Ronald Reagan or Arnold Schwarzenegger who were famous first and then got into politics. Palin was plucked from obscurity up there in Alaska and thrust into the national consciousness. The immediate fascination with her had more to do with this narrative — the attractive female governor suddenly shoved into the spotlight — than anything of substance in her life. She brought with her a life like a reality show; her teenage daughter was pregnant out of wedlock to a no-good man who wanted to pose for Playgirl magazine and her husband was still trying to shake the specter of Troopergate. Then came Tina Fey and her impression that brought the candidate off of the convention stage and into the pop cultural arena.
Once Palin and John McCain lost the election, it seemed like she would still be famous in the political sphere, as governor of Alaska. Then she quit. Then she wrote a book. Then she got the reality show, and now she's dithering around L.A. shopping a fitness book the day after her "skinny shots" hit the tabloid press.
This is a first. Sarah Palin is truly unique for being the first to use legitimate political clout and presidential politics to make herself into a B-list celebrity rather than the other way around. Her involvement with politics is as tangential now as any other celebrity's; she doesn't hold office and is more interested in pursuing gigs that will cultivate her fame and popularity than getting the voters to back her. Al Gore, after he lost his campaign, also took to the movies, but that was An Inconvenient Truth, a documentary about climate change, which has more to do with politics than whether or not Bristol will survive doing the Paso Doble this week.
Welcome to the brave new world, Sarah Palin, because you are officially a celebrity and we're not quite sure what to do with you. Should we continue to pretend like what you say about issues matters any more than a Real Housewife? Should we give you a show or an acting role? Are you ready to be the next Bachelorette? One thing is for sure though. If you ever do run again, someone is going to have to remind you of when the McCain campaign smeared Obama for being a celebrity. He wasn't even the one emailing his diet book plans to People magazine.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: Miguel/Rocstar/FameFlynet]
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Casting TIdbits: Looks like June from ABC’s Don’t Trust The B—- In Apartment 23 (Dreama Walker) has some competition — and no, it's not her roommate Chloe (Krysten Ritter). Angelique Cabral has nabbed the recurring role of Fox Paris, a junior analyst who works with June at her new firm. Meanwhile, Steven Culp will go to Grey's Anatomy, Maureen Sebastian heads to NBC's Revolution, Wendy Crewson will stir the pot on Revenge, and Tara Summers will work with a fictional Tara (Maggie Siff) on Sons of Anarchy. [Deadline]
Happy Endings: Looks like this year might be the actual year of Penny (Casey Wilson). The perennial singleton is about to gain a long-term (at least six episodes) beau. Nick Zano, who recently starred in 2 Broke Girls, will play Pete — the brave man willing to take on the challenge. [THR]
American Horror Story: Finally, AHS has given us something to scream about. After several 15-second bits of creepy nuns and old bathtubs, FX released a trailer that shows the new cast (including Adam Levine, Chloe Sevigny, Joseph Fiennes, and James Cromwell) and the old (Jessica Lange, Evan Peters, Zachary Quinto, Lily Rabe, and Sarah Paulson) in costume, as a creepy take on "Que Sera Sera" plays in the background. Can it be October 5 now? [TVLine]
30 Rock: 30 Rock is known for its great guest stars, but this year they're about to get bad — Breaking Bad star Bryan Cranston will appear alongside comedy great Catherine O'Hara. O'Hara will play the mysterious hillbilly Kenneth's (Jack McBrayer) mom, while Cranston will play her special "friend." [EW]
[PHOTO CREDIT: David Edwards]
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From what we hear, San Diego's Comic-Con used to be all about comic books and movies —what a strange, novel idea! While comic classics and big-screen adventures are still a major part of the convention, SDCC can now be viewed as a litmus test for television's growing popularity. In recent years, the infamous Hall H has been flooded with frantic fans flocking to see their favorite hits from the small screen, and 2012's convention will feature more shows than ever before. Hollywood.com will be on the floor for many of your favorite shows, bringing exclusive scoop and interviews from their hottest stars. But before we grab our badge and brave the crowds, let's run down what we already know from your favorite hits, and, more importantly, what we're dying to find out. MINOR SPOILERS AHEAD!
Dexter: At the end of season 6, fans were treated to the moment they'd been waiting for since the days of the Ice Truck Killer: Deb (Jennifer Carpenter) walked in on a kill. This. Changes. Everything.
What We Need To Know: To put it mildly, season 6 of Dexter was a disappointment. In fact, things haven't been quite the same since the phenomenal John Lithgow took his final bow. Having Deb in on the game (or battling Dexter) would certainly shake things up, but fans really need to know how they plan to keep things fresh for season 7. Showtime has been pretty mum about this season's new big bad, but we do know that newcomer Ray Stevenson will play a high-ranking member of an Easter European crime ring, with Katia Winter recurring as a Russian stripper. This high-power organized crime factor is new territory for Dexter, so we're keeping our fingers crossed for a quality trailer.
Community: Creator Dan Harmon was fired after a tumultuous season 3, and a series of leaked voicemails that exposed extreme personal and creative differences with Chevy Chase. David Guarascio and Moses Port (Happy Endings) will take the reins for season 4, while Chase has confirmed that he will definitely return for another year at Greendale. When we last left the study group, Jeff (Joel McHale) was searching for his father, while Troy (Donald Glover) became the "messiah" of Greendale's Air Conditioning Repair Annex.
What We Need To Know: How the new showrunners plan to handle the transition, and their plans for the tone of the show. Community is one of television's most unique treasures, and its devoted fans are fiercely loyal to Harmon. Guarascio, Port and the cast have been relatively quiet since Harmon's firing, so Comic Con will be their big debut. Expect plenty of scoop on the Community front, Human Beings.
The Walking Dead: They're everywhere! At the end of season 2, Andrea (Laurie Holden) was rescued by a hooded woman when she became separated from the rest of the besieged gang, who were forced to flee Herschel's (Scott Wilson) farm. It was soon revealed that this woman is none other than Michonne, a popular sword-wielding heroine from the comics. Meanwhile, the Grimes Gang were left reeling over the news that the virus that makes "walkers" is alive in all of them, so even a natural death would result in zombie rebirth. What We Need To Know: Michonne's casting has already been revealed — Treme's Danai Gurira will join the cast when the show resumes next fall, along with David Morrissey as a formidable villain known as The Governor. (Check em' out in the brand new poster!) But more importantly, we want to know how season 3 will look with new showrunner Glen Mazzara officially at the helm. Will he quicken the dull pace of season 2? The final 3 episodes of last season were a vast improvement over fall's poorly received Sophia snooze-fest, so we have high hopes for Dead's panel at this year's Con. Game of Thrones: Stannis (Stephen Dillane) is (maybe?) defeated! Tyrion (Peter Dinklage) lost his power over the realm! Jon Snow (Kit Harington) is a wildling! Theon (Alfie Allen) and Davos (Liam Cunningham) might be dead! So much happened in last month's finale that there aren't enough exclamation points in this world to encapsulate. We doubt the GoT crew will give away too much about season 3 since it's (unfortunately) eons away, but George R. R. Martin knows how to give a good panel. (Though it's pretty hard to adequately tease plot lines when everything already exists in a book.) What We Need To Know: They've already announced a bevy of characters that will join the cast for season 3 (which will be based on the third book in George R. R. Martin's A Song of Ice and Fire series, A Storm of Swords). We'll on the lookout for any casting announcements, or new exotic filming locations to expand upon the already vast world of Westeros. Also, since A Storm of Swords will be split into 2 seasons, we're curious to know where this one cuts off. Breaking Bad: The fifth season of AMC's groundbreaking drama premieres on the final night of 'Con (Sunday the 15th), so fans won't have to wait too long to see where Walt (Bryan Cranston) and Jesse (Aaron Paul) ended up after last season's dramatic face off. (Get it?) What We Need To Know: Is Walt really capable of killing a child? After seeing that Lily of the Valley plant in his backyard, it would certainly seem so. Was Saul in on the scheme? Also, getting rid of Gus leaves plenty of room for a new big bad — but will this season's opposition be a brand new face, or has Walt himself become the show's main antagonist? We expect Cranston and co. to touch on all of these issues and more, so be sure to check back for updates! Once Upon A Time: The first season's finale brought good news and bad news. In the "good" column, residents of the cursed Storybrooke, Maine regained their memories when Emma (Jennifer Morrison) finally broke the evil spell. However, fans were left with a cliffhanger when Mr. Gold/Rumpelstiltskin (Robert Carlyle) and Belle (Emilie de Ravin) seemingly went ahead and cast another one. It looks like magic has finally made its way to "our" world, but what this means for our favorite characters is yet to be seen. What We Need To Know: Well, besides more details about the latest curse, we'd like to see what the newly cast Mulan and Sleeping Beauty will be up to. Jamie Chung (who will now and forever be known as the girl from The Real World: San Diego) and The Tudors' Sarah Bolger have officially joined the roster, but the Once-lers have kept mum about their role in Storybrooke. We're hoping for some overall badassery from Chung (and not only to make up for Sucker Punch). The Vampire Diaries: In the final moments of May's third season finale, TVD fans were shocked when Elena (Nina Dobrev) died, only to re-emgerge minutes later as a bona fide creature of the night. Also, Klaus is somehow occupying Tyler's (Michael Trevino) body. What We Need To Know: We're not sure if anything can beat Caroline's (Candice Accola) hilarious-slash-heartbreaking season 2 transformation, but we're curious to see producer Julie Plec and co. try. Also — if Klaus is occupying Tyler's body, what does that mean for his soul? And how the heck does Trevino plan to pull off the conniving Brit Joseph Morgan? True Blood: Since we're right smack in the middle of the season, the True Blood gang might not have too much to give away. But after an intense make-out session between Sookie (Anna Paquin) and Alcide (Joe Manganiello), fans will be chomping at the bit for any details on Sookie's love... quadrangle? What We Need To Know: How they plan to proceed without showrunner Alan Ball leading the way. The show just got picked up for another season, which will be its first with co-executive producer Mark Hudis at the helm. Does he have any plans for a change of direction? Fringe: Fringe's final season will debut this fall (tear), and after a madcap season 4 that included a special flash-forward to a dystopian 2036, Peter (Joshua Jackson), Olivia (Anna Torv) and Walter (John Noble) experienced some sort of happily ever after when they saved our universe and learned that Olivia was pregnant. However, this pregnancy fits perfectly with the grim future presented in the flash-forward, where Peter and Olivia's daughter tries to survive a world run by evil Observers, and Olivia is supposedly dead. What We Need To Know: According to Noble, Fringe's final go-round will take place almost exclusively in 2036, where the original Fringe team (plus Peter and Olivia's daughter, Etta) are wanted insurgents. Using the Observers as final-season villains is a huge plot shift, because we always thought September was our dearest friend. Does this mean the Observers were behind everything all along (even September)? Will we ever see the alternate universe (and our beloved Lincoln Lee) again? Are peacoats still in style in 2036? In case you couldn't tell, we're pretty excited for the Fringe panel. Please excuse the impending exclamation points. Sons of Anarchy: Season 4 of SoA ended on a major bang: Jax (Charlie Hunnam) finally learned that Clay (Ron Perlman) killed his father (and tried to kill Tara), but now he has to keep the old bastard alive. Agents in the CIA-backed Galindo cartel are using the Sons as their drug and weapon runners for their deal with the Irish Kings, who will only deal with Clay. Galindo will crush the now Jax-led Sons if their Irish investigation fails, so Jax will need to try his darndest to keep internal issues at bay. To make matters worse, Tig (Kim Coates) ran over the daughter of the most infamous drug kingpin in Oakland. What We Need To Know: We learned on Lost that Harold Perrineau will do anything for his kin. So when we heard the news that Perrineau had joined the cast as Damon Pope, the famous gangster/father of the woman run over by Tig, we were thrilled. ANY news on his character, and upcoming gang drama for the Sons, is necessary. Follow Shaunna on Twitter @HWShaunna More:
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It's an inalienable truth that when you truly love someone or something, it's because of their flaws, not in spite of them. So it can only be described as love at first sight for the imperfect, but bold and daring Girls and its flawed heroines, lead by the show's fearless and funny creator Lena Dunham.
The pilot for HBO's new Judd Apatow-produced series debuted last night and the love likely wasn't just felt by enthusiastic television critics, but by audiences who could see themselves (perhaps a little too much) in its characters. Yes, the show is undeniably New York-centric and may strike a closer nerve with those inhabiting the Big Apple, but anyone struggling to get by in their 20s (read: anyone in their 20s) likely felt the sting.
In the opening scene of Girls we meet the droll Hannah (Dunham), wolfing down a fancy dinner with her parents (played by Bossom Buddies' Peter Scolari and Freaks and Geeks' Becky Ann Baker). Her parents then drop the bombshell: After years of lending Hannah financial support, they are cutting her off. A bewildered Hannah argues that "All my friends get help from their parents" and that Mom and Dad should simply be grateful that she is not a drug addict and should continue to foot her bills. And, with that, within the series' first few minutes, audiences either fell in love with Girls, or began to hate it.
Ever since buzz for Girls began, critics and industry insiders depicted the series as one that would at last capture twentysomething life in New York. No day-long visits to Central Perk or inexplicably nice apartments beyond any reasonable financial means. It would expose the dirty, nitty-gritty truth about what it's like in the greatest (and, sometimes, worst) city in the world. Still, much like a carefree sitcom character, Hannah represents a very small demographic of young New Yorkers. Hannah and her friends may enjoy financial support from their parents, but so many people her age following similar dreams (the 24-year-old is trying to become a published writer) are out on their own. Hannah's spoiled, albeit very funny, rant inevitably likely turned some off from the get-go, but even those of us without an account at the Bank of Mom and Dad know someone like Hannah and more than understand the fear of an dwindling income and dreams of a big future. Hannah's complaint that "I am so close to the life I want" might just be the rally cry of every determined 20-something hoping to make it in New York.
Hannah's predicament wouldn't be so troublesome if her internship at a book publisher wasn't unpaid. Faced with the brave new world of financial independence, Hannah hopes that her hard work and determination will get her to the next step at her job: Actual employment. In a hilariously uncomfortable scene that likely hit the closest to home for anyone that has run the internship gauntlet, Hannah's boss declined her request and told her when she's hungry enough, it will happen. To which Hannah deliciously replied, "Do you mean like physically hungry or hungry for the job?"
But her dead-end job isn't Hannah's only concern. Messy relationships and complicated friendships also occupy her angst-riddled psyche. Hannah's relationship (if one could even call it that) is with a cold and clueless out-of-work actor named Adam (Adam Driver, one of many of Dunham's Tiny Furniture alums) who only responds to her when he sees fit. During a post-coital conversation, she tells him, "It was really good to see you" in a post-coital conversation, to which he replies, "I'm glad." Oof. Her friendships, thankfully, are a little more fulfilling. Hannah and her roommate Marnie (the beautiful Allison Williams) have an effortless, relatable best friend bond. They get ready in the bathroom together, honestly discuss their men woes (Marnie is fed up with her clingy but sweet boyfriend Charlie, played by Christopher Abbott), and simply "get" each other. There's also Jessa (Jemima Kirke), a hipster drifter whom Hannah loves to be around (whenever she actually is around), and Marnie, who Hannah has a harder time seeing eye-to-eye with. Jessa has arrived back in town (pregnant, no less) and is staying with her polar opposite, but well-meaning cousin Shoshanna (Zosia Mamet, taking a break from Mad Men).
In one funny, but particularly telling scene, the insecure, but sweet Shoshanna discusses her fixation with Sex and the City with the too-hip Jessa. And, with that, the series courted the inevitable SATC comparisons. Or, I should say, the non-comparisons: In the weeks before Girls aired, it was also being heralded as the "anti-Sex and the City." It's not exactly the wrong sentiment. But even if Girls is the anti-SATC — focusing on the poor versus the New York elite — viewers would still be able to recognize elements of Girls' elder HBO sister in the show. It's all in the main character: Hannah is a self-involved writer, much like Sarah Jessica Parker's iconic Carrie, whose dialogue with her friends sounds like something straight out of one of her dating columns. (In one scene Marnie tells Hannah that the "Totem of Chat" goes as follows, "Facebook, Gchat, texting, email, phone. Face-to-face is of course ideal, but it's not of this time.")
Whether or not Dunham wants to hear it, women of the Girls era will be labeling themselves Hannahs, Jessas, Shoshannas, and Marnies, too, much like women of the early 2000s anointed themselves Charlottes or Mirandas or Carries or Samanthas. Heck, even the final scene of a disoriented, but hopeful Hannah disappearing onto a bustling Sixth Avenue — which knows not of her problems, nor would it care — felt about as Sex and the City as an anti-Sex and the City series could get.
Still, Girls very much has its own unique voice, one that was heard loud and clear throughout the pilot. When Hannah returns to hilariously plead with her parents for their financial help (after drinking some opium tea, no less), she tells them "I might just be the voice of my generation, or at least a voice of a generation." She might not be wrong. She might also just be our only viable alternative to 2 Broke Girls.
Girls will, no doubt, face its share of obstacles. Some will find Dunham's dry sense of humor and sense of entitlement (why can't she work at a McDonald's if she's so broke?) too polarizing, while others will inevitably deem it "a show for hipsters" based on Jessa's wardrobe alone. New Yorkers, as they so often do, will claim it as their own. Of course, that makes Girls that much more worthy of your love. Its imperfect characters and awkward moments may be hard to swallow at times, but that's only because it makes us reflect on — and laugh in the face of — our own flaws and mistakes. Like true love, sometimes great television is entirely capable of just that.
[Photo credit: HBO]
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Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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So much of the world's attention has been pointed toward March 23, the theatrical release of The Hunger Games. Gary Ross' film adaptation of the best-selling novel is already considered to be one of those epic events in movie history. The sort of film that causes such a stir among the viewing public that it's the only thing anyone can talk about for the weeks surrounding the date of the cinematic release. But what if Suzanne Collins' book never became a movie? What if, instead, it became—perish the thought—a TV show?
It might not seem like it would work, but The Hunger Games was almost a television series instead of a film. Producer Joe Drake revealed at a Hunger Games premiere party that at one point, the project was being considered for TV. This isn't today's only "what could have been" news regarding The Hunger Games. Check out the Nine Actresses Who Could Have Played Katniss Everdeen.
How would this TV project have panned out? Although you'll never see this television manifestation of The Hunger Games, there are other stories and concepts that have taken both big and small screen forms, giving the world an idea of which medium better suits what kind of story, and how The Hunger Games might have fared.
Buffy the Vampire Slayer
TV Series: Buffy the Vampire Slayer ('97-'03)
Movie(s): Buffy the Vampire Slayer ('92) Which Was Better? The Buffy movie, while original and fun in its own right, is more or less forgotten nowadays. The resultant television show, which placed then-rising star Sarah Michelle Gellar in the starring role, is practically a religion to some people. The show was obviously based around fantasy and horror themes, but the real investment was in its characters. The TV show wins by a landslide. MASH TV Series: M*A*S*H ('72-'83)Movie(s): MASH ('70) Which Was Better? This one is a much closer race. Robert Altman's 1970 film was a masterpiece of satire, dark comedy, and a genuine look at the horrors and sorrows of war. But there's something to be said for a war series that outlasts its real-life basis by over 400 percent. Another argument in the series's corner: the finale remains the most watched broadcast in television history. MASH was terrific, but it was no M*A*S*H. Iron ManTV Series: Iron Man ('94-'96), Iron Man: Armored Adventures ('09—)Movie(s): Iron Man ('08), Iron Man 2 ('10)Which Was Better? The hero Iron Man (Tony Stark) has actually been a television fixture in Marvel series since the 1960s. However, the insurgence of his own series in the '90s proved that Iron Man wasn't really capable of maintaining interest on his own. It wasn't until the live-action Robert Downey, Jr. films arrived that the hero really claimed popularity outside of his comic book fan base. Iron Man works on the big screen. He's the epitome of flash, adventure and overall overindulgence, and that's the definition of a big-budget movie. The SerenityTV Series: Firefly ('02-'03)Movie(s): Serenity ('05)Which Was Better? Serenity did as well as it could in translating Joss Whedon's special universe to a new medium, but the Serenity really belonged on television. The show was too complicated and dense with thematic and character depth to be condensed into a single cinematic instance. The TV show takes the cake. Batman TV Series: Batman ('66-'68), The Adventures of Batman and Robin the Boy Wonder ('68-'69), The New Adventures of Batman ('77-'78), Batman: The Animated Series ('92-'95), The New Batman Adventures ('97-'99), Batman Beyond ('99-'01), The Batman ('04-'08), Batman: The Brave and the Bold ('08-'11)Movie(s): Batman ('66), Batman ('89), Batman Returns ('92), Batman Forever ('95). Batman &amp; Robin ('97), Batman Begins ('05), The Dark Knight ('08) Worked Was Better? With so many different incarnations, this is probably the biggest toss-up. The Batman series are revered by fans—and adamantly, as those of you who have ever been to a Comic-Con might know—but there's just something about those movies. They don't just satisfy, they thrill. Directors Tim Burton and Christopher Nolan (and to a lesser extent Joel Schumacher) have exhibited the diversity of the DC comics legend and his gripping story with their different movie adaptations of the character. Batman may be more subtle and introspective than most superheroes, but he's a big presence who works best on the big screen. Movies and TV are both beloved members of our society, social circles and families, but they offer us very different things. With a world larger than life and characters on a biting quest of passion and self-preservation, a story like The Hunger Games works best on the biggest of screens. And if you don't agree, you still have The Selection. Everybody wins! [Daily News]

In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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